Review Saikou no Rikon Director: Rieko Miyamoto

Saikou no Rikon

Review Saikou no Rikon Director: Rieko Miyamoto A year has passed since Mitsuo filed divorce papers to end his marriage with Yuka, but they still live together.

Mitsuo is now thinking about remarrying Yuka. On December 30, Mitsuo and Yuka go camping.

Mitsuo works hard to prepare everything, while Yuka just drinks beers. Ryo then joins Mitsuo and Yuka.

Ryo tells them that Akari had a safe delivery in Aomori and she will be back tomorrow. These two couples look fine, but a new crisis is soon to come about.

Plot Synopsis by AsianWiki Staff

Drama series depicts the love and marriage of two 30 something couples.

Ordinary salaryman Kousei (Eita]) works for a company which installs vending machines. He complains about his marriage life while at the dentist office.

Kousei doesn’t do his job well and he is also sick. He isn’t happy at all.

His biggest problem is his wife Yuna (Machiko Ono), who has the complete opposite personality from Kousei .They have been married 2 years.

Yuna is bright and easy-going. Kousei doesn’t know if he loves Yuna or not, but he thinks her personality meshes with his.

At this time, Kousei meets Akari (Yoko Maki), his ex-girlfriend from his university days.

Akari works as an assistant at the College of Fine Arts and married Ryo (Gou Ayano).

 

ดูหนังออนไลน์ Saikou no Rikon 

Review now you see me 2 by Jon M. Chu 2016

now you see me 2

Review now you see me 2 by Jon M. Chu 2016  Eighteen months after escaping the FBI, the fugitive Four Horsemen – J. Daniel Atlas, Merritt McKinney, Jack Wilder, and new member Lula May – await orders from the Eye, the secret society of magicians.

The Horsemen’s handler, FBI Special Agent Dylan Rhodes, delivers their instructions: the Horsemen are to expose corrupt tech CEO Owen Case, whose latest cell phone will secretly collect users’ personal data to sell on the black market.

In New York City, the Horsemen hijack the phone’s launch, but are interrupted by a mysterious figure who reveals to the public that Jack faked his death, and that Dylan is working with the Horsemen.

Dylan eludes the FBI as the Horsemen escape down a construction chute only to find themselves in Macau.

They are captured by Chase, Merritt’s twin brother, and brought to Walter Mabry, Owen’s former business partner. Having exposed the Horsemen in New York, Walter reveals how they were lulled unconscious and flown to Macau. He explains that Owen took his company from him, as well as a chip designed by Walter to access any computer system in the world. Despite the protests of the other Horsemen, Daniel agrees to steal the chip for Walter before Owen can sell it.

They acquire supplies from a magic store owned by Li and Bu Bu, and arrange to deliver the chip to the Eye, knowing they cannot trust Walter.

Posing as potential buyers, they infiltrate the Macau Science Center, using cardistry and sleight of hand to sneak the chip past its supervisor, Allen Scott-Frank.

Dylan is contacted by Thaddeus Bradley, the magic debunker he framed for the Horsemen’s crimes.

Thaddeus offers his help in finding the Horsemen, and Dylan extradites him from prison. They go to Macau, and Dylan finds Daniel waiting to give the chip to the Eye.

Walter arrives, having manipulated Daniel into believing he was in contact with the Eye, and Dylan fights Walter’s men as Daniel escapes with the chip.

Captured, Dylan discovers Walter is the son of Arthur Tressler, whose fortune Dylan and the Horsemen stole.

Walter and Arthur lock Dylan in a safe and drop him underwater, mirroring the death of Dylan’s father.

Arthur pays Thaddeus for bringing him Dylan, and Thaddeus promises to deliver the Horsemen as well.

Dylan escapes from the safe and is rescued by the Horsemen.

Realizing the chip they have is a fake, they resolve to stop Walter from acquiring the real chip, and are joined by Li and Bu Bu.

The Horsemen announce a new performance in London, with an implicit threat to expose Walter, who flies to London with Arthur and Chase in a private jet.

On New Year’s Eve, the Horsemen perform across the city,
but they and Dylan are captured by Walter’s men and brought
to the jet. Once in the air, they are forced to hand over
the fake chip, which Walter confirms is real.

Dylan and the Horsemen are thrown out of the plane,
which is revealed to be a set floating on the Thames.

They explain how they had misled the three into thinking they had won and reveal Jack had hypnotized Chase into throwing them out of the plane as planned.

Walter, Arthur, and Chase’s misdeeds are broadcast to the crowd and around the world, and they are taken into FBI custody as Dylan and the Horsemen escape before the FBI can apprehend them.

They arrive at the Greenwich Observatory, where they meet other members of the Eye, including Li, Bu Bu, and Allen.

Their leader is revealed to be Thaddeus, who explains to
Dylan that he was actually his father’s partner in magic
and was pretending to be his rival this whole time.

He appoints Dylan the new leader, and the Horsemen are shown a secret entrance to see more of the Eye.

 

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Review Movie Pitch Perfect 3 Starring Anna Kendrick

Pitch Perfect 3

Review Movie Pitch Perfect 3 Starring Anna Kendrick Starring Anna Kendrick, Hailee Steinfeld, and Rebel Wilson, “Pitch Perfect 3” was released in theaters across the United States on Dec. 27.

In this last movie of the Pitch Perfect series, the Bellas
will bring the audience unexpected disappointment and overrated hype.

Now graduated out of college and into the real world, the Barden Bellas, a former acapella group of Barden University, have long since split apart
in pursuit of separate—and unsuccessful—careers.

So when the Bellas receive a chance to compete at the overseas
United Service Organizations tour to support American troops
in Europe by singing for them and their families, they jump
at the opportunity to perform together one last time.

Right off the bat, however, it becomes clear that the story
of the Bellas is one that does not need continuation.

The plot is essentially a completely irrelevant reason to bring the Bellas back together.

Also, the film features many needless and ridiculous plot distractions such as a beehive explosion, a Fat Amy fight scene, and a Snoop Dogg cameo.

These scenes were wholly unnecessary, and did not contribute
to the progression of the film whatsoever.

While the plot is dotted with with many random distractions
and unrelated to anything the Bellas were aiming to achieve,
the movie is entertaining and featured moments of comedy that
teenagers can easily relate to, as well as the previously
promised riff-offs and singing performances.

“Pitch Perfect 3” is utterly unrealistic, and the characters are no longer as funny, charming, or relatable as they were in the previous films.

The audience feels no real connection towards the Bellas,
because the “core cast” only consists of Anna Kendrick,
Hailee Steinfeld, and Rebel Wilson.

The other lovable characters of the previous movies,
especially Stacie and tomboyish Cynthia Rose, barely have speaking lines at all.

Whatever charisma the first two movies possessed has been thoroughly lost in this meaningless final chapter of the Pitch Perfect series.

So while the film is great for devoted fans of the first two films who want to finish the Barden Bellas’ story with a sense of closure, the series sadly does not end on a high note.

 

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Review Korean The Undateables Hunnam Jeong-eum TV series

Handsome Guy and Jung Eum

The Undateables (Korean: 훈남정음; RR: Hunnam Jeong-eum; lit. Handsome Guy and Jung-eum) is a 2018 South Korean television series starring Namkoong Min and Hwang Jung-eum. It aired on SBS from May 23 to July 19, 2018 on Wednesdays and Thursdays at 22:00 (KST) for 32 episodes

It is a romantic comedy about Kang Hoon-nam who knows everything
there is to know about love and Yoo Jung-eum whose biggest dream
is to be loved and get married.

The two of them get off on the wrong foot, first five years ago
at the airport when Hoon-nam witnesses Jung-eum pursuing her
then-boyfriend at the airport, and then in the present when
they share the same client Oh Doo-ri and are initially misled
into thinking the other is competition (although their employers
are in fact in different industries).

Coincidentally, two of Hoon-nam’s friends get hooked up with two of Jung-eum’s friends; Yook Ryong and Coach Yang, then followed by Lee Su-ji with Choi Jun-soo.

However Su-ji is longtime friends with Hoon-nam from Australia, while Jun-soo has been the best friend and mentor to Jung-eum for 30 years while also renting at her father’s place for the last few years.

When Su-ji returns from Australia to Korea then Hoon-nam has to leave his home for her, and ends up living with Jung-eum and Jun-soo much to the latter’s chagrin.

After things initially don’t work out, Hoon-nam and Jung-eum
coincidentally cross paths again as both try to sign up Mr. Kim as a client.

Mr. Kim has been dating their mutual client Doo-ri.

Hoon-nam then signs up with Jung-eum’s agency as a client.

Su-ji pressures Jung-eum to manipulate the match so she is paired up with Hoon-nam, as she wants to marry him although his heart is not for Su-ji despite their other compatibilities.

ดูหนังออนไลน์ The Undateables 

 

Review The Grand Budapest Hotel Year : 2014

The Grand Budapest Hotel

Review The Grand Budapest Hotel Year : 2014  An odd thought occurred to me a few hours after I saw writer/director Wes Anderson’s “The Grand Budapest Hotel” for the first time. It was that Anderson would be the ideal director for a film of “Lolita,” or a mini-series of “Ada.”

Now I know that “Lolita” has been filmed, twice, but the fundamental problem with each version has nothing to do with ability to depict or handle risky content but with a fundamental misapprehension that Nabokov’s famous novel took place in the “real world.”

For all the authentic horror and tragedy of its story, it does not.

“I am thinking of aurochs and angels, the secret of durable pigments, prophetic sonnets, the refuge of art,”

Humbert Humbert, the book’s monstrous protagonist/narrator, writes at the end of “Lolita.”

Nabokov created Humbert so Humbert might create his own world

(with a combination of detail both geographically verifiable and stealthily fanciful), a refuge from his own wrongdoing.

“The Grand Budapest Hotel” uses a not dissimilar narrative stratagem, a nesting-doll contrivance conveyed in a blink-and-you’ll-miss-a-crucial-part-of-it opening.

A young lady visits a park and gazes at a bust of a beloved “Author,” who is then made flesh in the person of Tom Wilkinson, who then recalls his younger self in the person of Jude Law, who then recounts his meeting with Mr.

Moustafa (F. Murray Abraham), the owner of the title hotel.

Said hotel is a legendary edifice falling into
obsolescence, and Law’s “Author” is curious as
to why the immensely wealthy Moustafa chooses
to bunk in a practically closet-

size room on his yearly visits to the place. Over dinner.

Moustafa deigns to satisfy the writer’s curiosity, telling him of his apprenticeship under the hotel’s one-time concierge, M. Gustave (Ralph Fiennes).

All of this material is conveyed not just in the standard Wes Anderson style, e.g., meticulously composed and designed shots with precise and very constricted camera movements.

In “Hotel” Anderson’s refinement of his particular moviemaking mode is so distinct that his debut feature, the hardly unstylized “Bottle Rocket,” looks like a Cassavetes picture by comparison.

So, to answer some folks who claim to enjoy Anderson’s movies while also grousing that they wish he would apply his cinematic talents in a “different” mode:

no, this isn’t the movie in which he does what you think you want, whatever that is.

ดูหนังออนไลน์ The Grand Budapest Hotel  

Review series Terius Behind Me 내 뒤에 테리우스 2018

Terius Behind Me

My Secret Terrius (Korean: 내 뒤에 테리우스; RR: Nae Dwie Teriwooseu; lit. Terius Behind Me) is a 2018 South Korean television series starring So Ji-sub, Jung In-sun, Son Ho-jun and Im Se-mi.

It was aired on MBC from September 27 to November 15, 2018 on Wednesdays and Thursdays at 21:55 (KST) time slot

Go Ae Rin (Jung In Sun) is a single mother who, after unexpectedly losing her husband, finds herself involved in the crossfire between spies. She lives in the apartment opposite Kim Bon (So Ji Sub), code-named Terrius.

Kim Bon is a legendary black-ops agent with the National Intelligence Service (NIS), who has kept himself hidden after a failed mission, which resulted in the death of a loved one.

They join forces to uncover the big conspiracy, to which Go Ae Rin’s husband was witness, and that cost him his life. Alongside them is Jin Yong Tae (Son Ho Joon), a former con man who may hold the key to the conspiracy, and Yoo Ji Yun (Im Se Mi), a fellow NIS agent who seems cold and insensitive on the outside, but harbors deeper feelings for Kim Bon.

Also known as Code Name: Terrius
Terius Behind Me
Hangul 내 뒤에 테리우스
Genre
Romantic-comedy
Mystery
Created by Kang Dae-sun
Written by Oh Ji-young
Directed by Park Sang-hun
Starring
So Ji-sub
Jung In-sun
Son Ho-jun
Im Se-mi

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Review Korean Oh My Ghost 2015 TV series

Oh My Ghost is a miniseries with a complicated plotline Review Korean Oh My Ghost 오 나의 귀신님 2015 TV series . The story is about a young woman who works as a chef, but also sometimes sees ghosts because her grandmother is a shaman.

One day the young woman becomes possessed by the ghost of a virgin who believes her unsettled business is to have sex.

The ghost believes once she does this she will be able to
pass on to the afterlife in peace. The ghost begins to hit
on the star chef in the young woman’s kitchen (who is also the boss),
luckily the possessed young woman also had a crush on the man.

There are two versions of Oh My Ghost with this exact plotline – a Korean drama made in 2015 and a Thai remake of the show which was made in 2018.

The Korean version
This series is the original, so if you’re against remakes this may be the one for you. The Korean series has sixteen episodes and is available on Netflix, so it’s easy to access.

This version of Oh My Ghost stars Bo-Young Park and Jung-suk Jo as the two romantic leads, and many of the people who have already watched this show did so because they love these two actors.

This version has an 8.1 rating out of ten on IMDb so it’s very well received, since a nine on the website is practically unheard of. Those who love the show say the mix of various genres such as romance, supernatural, comedy, and drama create a fun story they couldn’t help but become engrossed in.

Honestly, you’ll be hard-pressed to find an unhappy review
about the Korean version, and the ones you do find are generally
about the content itself being potentially creepy and technically
sexual harassment – but if you’re already cool with the above premise,
then this likely won’t be an issue for you.

The Thai version
This remake series also has sixteen episodes and is available on Netflix,
so if runtime or accessibility were make or break factors on your decision
making this won’t help you choose which series to watch.

The stars of this version of Oh My Ghost are Arak Amornsupasiri and Vivid Bavornkiratikajorn.

The Thai remake has a 7.2 out of 10 rating on IMDb so it is a little less well-received, but it isn’t a dire rating either.

This version, overall, appears to have fewer reviews on the internet, which implies fewer people have seen it.

This could either be a not-so-good sign as to the quality of the show, or it could mean this version is a diamond in the rough waiting to be discovered.

Reviews of the show are less than thrilled, and many do come
from people who have also watched the original.

The big issue which seems to have upset viewers is the acting,
which multiple people called poor – both in regard to the leads
and the supporting characters.

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Review Silver Linings Playbook Directed by David O. Russell

Silver Linings Playbook

Review Silver Linings Playbook Directed by David O. Russell Unique, beguiling, and occasionally frustrating: These descriptions equally apply to Silver Linings Playbook and its two central characters, a bipolar man fresh out of an institution and a depressed woman reeling from her husband’s death.

This romantic comedy-drama from director David O.

Russell represents a merger of the two sides of his filmmaking
personality —

the freewheeling spirit of his early indies
(Flirting With Disaster) and the more traditional crowd-pleasing
tone of The Fighter — and even if the mixture doesn’t always
gel perfectly, the brave, resonant performances from Bradley

Cooper and a never-better Jennifer Lawrence go a long way to
selling the movie’s bold beating heart.

Lovingly observing its characters and passing no judgments
on their sporadically irritating behaviour, Silver Linings
Playbook does eventually take a turn toward the conventional
by having them train for a local dance competition.

Being released by the Weinstein Company in the US during
Thanksgiving weekend, Silver Linings Playbook no doubt
wants to make a play for award consideration. Strong reviews
should help, and the presence of Cooper and Lawrence

(not to mention Robert De Niro and, in a very small role,
Chris Tucker) will attract box office, but the film’s decidedly
quirky tenor probably guarantees only mid-range grosses.

Based on Matthew Quick’s 2008 novel, Silver Linings Playbook
could be considered a very distant tonal cousin to Punch-Drunk
Love, which similarly featured two outsiders —
one suffering from clear mental and emotional problems —
making a go at love.

Pat (Cooper) has just spent several months in an institution for brutalizing his wife’s lover, but he’s convinced

he can win her back, even though she’s moved on.

Into his orbit comes Tiffany (Lawrence), a tart, combative young widow who has a reputation for being a slut since her husband has died.

They become unlikely friends, spurred on by the fact that Tiffany still communicates with Pat’s wife, who has put a restraining order on him.

There’s nothing inherently fresh about a film featuring an imbalanced protagonist, but Silver Linings Playbook does good work normalizing Pat’s condition — so much so that the film’s herky-

jerky tonal shifts seem to be related directly to Pat’s mood swings. (In this way, it also draws comparisons to Punch-Drunk Love.)

]Freed from the institution, Pat is determined to embrace a healthier, more positive outlook, and Cooper superbly reveals his character’s struggles to keep his façade of a fresh start intact.

As confident and empathetic as Cooper is, though, Silver Linings Playbook’s real revelation is Lawrence, who conveys a dangerous seductiveness as the thorny, vulnerable Tiffany. Though Tiffany’s problems may not be as extreme as Pat’s, she is equally wounded, and for the first time in her brief career Lawrence plays a grownup — as opposed to a self-possessed young person — with incredible flair and steeliness.

Lovingly observing its characters and passing no judgments on their sporadically irritating behaviour, Silver Linings Playbook does eventually take a turn toward the conventional by having them train for a local dance competition.

Still, Russell daringly lets Pat and Tiffany follow their own rhythm wherever it may take the movie, which harks back to the unbridled looseness of his character-driven early work.

For all of Playbook’s oversized emotions and sensitive romantic development, late-reel complications — which include Pat’s superstitious, sports-obsessed father (De Niro) needing money to start a restaurant —

derail the film’s momentum and shift focus away from Pat and Tiffany’s delicate bond. But much is redeemed by a finale that, although perhaps too pat, manages to arrive at a deeply satisfying conclusion that celebrates these characters’ enduring, endearing oddness.

 

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Review Fuller House Season 2 on March 2, 2016

review Fuller House Season 2

Review Fuller House Season 2  As the first review from my new post in IGN’s San Francisco office, I found it fitting that the Fuller family should welcome me to their city.

With thirteen new episodes primed and ready to binge on Netflix, Season 2 was a particularly easy watch for this fan of the 90’s original series.

The first season of Fuller House was enjoyed at Casa Varner, so expectations were high this past weekend, as Season 2 made its debut.

Leaning into the most severe sitcom tropes,
Fuller House is certainly a love-it or leave-it
kind of show.

Many modern family sitcoms have
left behind most of the more exaggerated approaches
to comedy (i.e. laugh tracks) but Fuller House does
not set out to be a modern example.

Nothing is left on the table — from breaking the fourth wall to dream sequences, Fuller House takes what the original series created and turns it up to 11.

Season 2 kicks off reuniting the characters back at the iconic Tanner family household, citing various summer activities for their departures.

While it made sense for the kids to be gone all summer,
watching the adults reunite as if they had been gone as
well is a little jarring.

This isn’t the last time
the kids are upstaged by the adults. DJ and Kimmy are
notorious in living vicariously through their children;
Kimmy going as far as attending 5 of the 6 weeks of Ramona’s dance camp.

The series struggles in finding comedic moments between
parent and child, and it’s not like Aunt Stephanie is
running around with a woodchuck puppet to lighten the mood.

The most welcomed addition to the family is Fernando, played by series regular Juan Pablo Di Pace.

We met Fernando at the end of season one as Kimmy’s
racecar driver fiancee and estranged father to Ramona.

Fernando’s enthusiastic assertion back into their lives
creates the first major arc of the season;

as he insists on moving into the Tanner/Gibbler household
while working things out with Kimmy. (Remember those bad
tropes? Bending over in a short pink robe, the family is
exposed to Fernando’s… pixelated parts. Actually pixelated.)

In spite of his nonsensical nature, Fernando’s presence
this season is seriously necessary.

With two moms
(plus non-parent, too-cool-to-be-fun Aunt Stephanie)
in the house, Fuller House goes against every other
90’s sitcom that consciously omitted the “buzzkill”
mother figure

(including its predecessor!) Season 1
tried to break that stereotype by showing our leading
ladies as everyday working women, but that doesn’t
necessarily add up to laughs.

Fernando’s over-the-top characteristics push
beyond any normal parenting trope, and allows
the writers to use him in “Uncle Joey”
moments, even if he is a parent himself.

Antiquated television politics aside, the scenes between
Fernando and DJ’s son Max (Elias Harger) were some of
the most heartwarming moments of the season, as they
ultimately parent each other…and you better believe
they hugged it out!

People love this show for its heart, and the stories that feel like a warm hug by the end of the episode. In Season 1, viewers learned that Stephanie is unable to have children.

This season, her cheeseball romance with neighbor Jimmy Gibbler (yes, really) takes on a new level as she looks at their long-term future with a different lens.

The highlight of the season is the Halloween episode.

Not only do you get a great moment for Stephanie and
Jimmy to bond over pranking kids in a haunted house,
but viewers are also treated to a throwback homage to
I Love Lucy.

Kimmy and Fernando dress up as the iconic
duo, and even perform Babalu and a scene in black and
white that contributes to the best classic reference
of the season.

Attempting to list every guest star this season would be near impossible.

We get three episodes with various members of the classic
“Full House” cast, including Blake and Dylan Tuomy-Wilhoit
reprising their roles as Nicky and Alex Katsopolis.

We also meet Joey’s magician wife, his four talented kids, as well as an adopted baby for Jesse and Becky. We also get cameos from the likes of Alan Thicke, Dancing With the Stars’ Bruno Tonioli, and NKOTB.

Can you tell which one would pull a golden “10” paddle out of his pants?

Keep in mind this is a 2016 sitcom that wants to be a 90’s sitcom. As uneven as that statement reads, the pop culture references are worse.

In one scene the viewer is expected to laugh at DJ using the fake name “Sinead O’Connor” at an Irish wedding, and the next Kimmy is catching a Pokemon on her phone on live TV.

Given my personal knowledge of Sinead extends to her tearing up a picture on SNL, it doesn’t seem like a reference that hits the Netflix demographic.

The character moments are what work– not the 2016 references or the talking dog gags (yes, REALLY.)

The absence of Michelle at the Tanner family Thanksgiving
shouldn’t be felt at all, given the wealth of characters
already on screen. Breaking the fourth wall to call out
the Olsen twins’ absence is not only insulting to the actors
inhabiting the scene, but also to the passive viewer trying
to enjoy a Thanksgiving meal with one of their favorite families.

There is a time and a place for side-eyes and subtweeting, and it isn’t in an episode.

To that end, there were more than enough cool callbacks to the original series. My personal favorite is DJ’s high school boyfriend Viper, a washed up rocker that considered DJ “the one that got away.”

It serves a humorous break in the nonsense that is DJ’s love life this season — an overdrawn Season 1 plotline that also extends the full length of Season 2.

It doesn’t matter who DJ choses in the end, as long as she makes up her damn mind.

Fuller House Season 2 brings a fuller cast, a fuller plot, and a lot more cringe-worthy pop culture jokes. Love it or hate it, the staying power of this heartwarming Netflix staple is stronger than ever.

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Review Movie Lost in Translation by Sofia Coppola

Lost in Translation

Lost in Translation is a 2003 romantic comedy-drama film[note 1] written and directed by Sofia Coppola. Bill Murray stars as Bob Harris, a fading American movie star who is having a midlife crisis when he travels to Tokyo to promote Suntory whisky. There, he befriends another estranged American named Charlotte, a young woman and recent college graduate played by Scarlett Johansson.

Giovanni Ribisi and Anna Faris also feature. The film explores themes of alienation and disconnection against a backdrop of cultural displacement in Japan. Further analysis by critics and scholars has focused on the film’s defiance of mainstream narrative conventions and its atypical depiction of romance.

Bob Harris is a fading American movie star who arrives in Tokyo to appear in lucrative advertisements for Suntory whisky. He stays at the upscale Park Hyatt Tokyo and is suffering from strains in his 25-year marriage and a midlife crisis. Charlotte, another American staying at the hotel, is a young Yale University graduate who is accompanying her husband John while he works as a celebrity photographer in Japan. Charlotte is feeling similarly disoriented as she questions her recent marriage and is unsure about her future.

They both grapple with additional feelings of jet lag and culture shock in Tokyo and often pass the time by lounging around the hotel.

Charlotte is repelled by a vacuous Hollywood actress named Kelly, who is at the Park Hyatt Tokyo promoting an action film and gushes over photography sessions she has previously done with John. Bob and Charlotte frequently happen upon each other in the hotel and eventually acquaint themselves in the hotel bar. After several encounters,

when John is on assignment outside Tokyo, Charlotte invites Bob into the city to meet some local friends. The two bond through a fun night in Tokyo, where they experience the city nightlife together. In the days that follow, Bob and Charlotte spend more time together, and their friendship strengthens. One night, while each cannot sleep,

the two share an intimate conversation about Charlotte’s personal uncertainties and their married lives.

Bob spends the night with a lounge singer from the hotel bar on the penultimate night of his stay. Charlotte hears the woman singing in Bob’s room the next morning, leading to tension between Bob and Charlotte during lunch together later that day.

The pair reencounter each other in the evening when Bob reveals that he will be leaving Tokyo the following day. Bob and Charlotte reconcile and express how they will miss each other, making a final visit to the hotel bar.

The next morning, when Bob is leaving the hotel, he and Charlotte share sincere but unsatisfactory goodbyes. Bob takes a taxi ride to the airport.

He sees Charlotte on a crowded street, stops the car, and walks to her. He then embraces Charlotte and whispers something in her ear. The two share a kiss, say goodbye, and Bob departs

Coppola started writing the film after spending time in Tokyo and becoming fond of the city. She began forming a story about two characters experiencing a “romantic melancholy”[4] in the Park Hyatt Tokyo,

where she stayed while promoting her first feature film, the 1999 drama The Virgin Suicides. Coppola envisioned Murray playing the role of Bob Harris from the beginning and tried to recruit him for up to a year, relentlessly sending him telephone messages and letters. While Murray eventually agreed to play the part,

he did not sign a contract; Coppola spent a quarter of the film’s $4 million budget without knowing if he would appear in Tokyo for shooting. When Murray finally arrived, Coppola described feelings of significant relief.

Principal photography began on September 29, 2002, and lasted 27 days. Coppola kept a flexible schedule during filming with a small crew and minimal equipment. The screenplay was short and Coppola often allowed a significant amount of improvisation during filming. The film’s director of photography,

Lance Acord, used available light as often as possible and many Japanese places of business and public areas were used as locations for shooting. After 10 weeks of editing, Coppola sold distribution rights for the United States and Canada to Focus Features, and the company promoted the film by generating positive word of mouth before its theatrical release.

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